The biggest dance craze was the chahut – an extreme version of the cancan, in which the grinning dancers waved their legs about wildly to reveal their frilly underwear.
Artists turned the swishing skirts into decorative expanses in their prints, capturing the energy of the performers and their audience.
The ruling class meanwhile, dismissed dancing like this as ‘hysteria’ and ‘epilepsy’.
In addition to these provocative dances, the ethereal style of Loïe Füller was a favourite subject for printmakers. Her elegant choreography served as a contrast with the standard image of the dancer as femme fatale.
Richard Thomson et al., Toulouse-Lautrec and Montmartre, Washington 2005
Annette Dixon et al., The dancer: Degas, Forain, Toulouse-Lautrec, Portland 2008
Rae Beth Gordon, Dances with Darwin 1875–1910, Aldershot 2008